Opening: Arts Factory Winter Show @ Arts Factory (Paris)
Nov 21 @ 17 h 00 min – 21 h 00 min

featuring Sergio Mora, Niark1 & Gary Taxali
vernissage le mardi 21 novembre de 17h à 21h
exposition du 22 novembre au 23 décembre 2017

Plaisir d’offrir, joie de recevoir … le Winter Show est enfin de retour ! Pour cette nouvelle édition qui se tiendra du 21 novembre au 23 décembre 2017, la galerie Arts Factory reçoit 3 pointures de la scène graphique internationale, à savoir : le barcelonais Sergio Mora, le très parisien NIARK1 et pour la première fois en France, le canadien Gary Taxali !

[ save the date ! plus d’infos très bientôt … ]

Opening: Pablo Tomek – Mixed Messages @ Nevven Gallery (Suède)
Nov 23 @ 17 h 00 min – 21 h 00 min


A solo show by PABLO TOMEK


MONDAY, NOVEMBER 20, 2017. TIME 18:00-19:30.

Graffiti is a language conveyed in an illegal act which subtends an intrinsic idea of freedom and appropriation that transcends and questions the common rules of society. Albeit – and on the contrary of common beliefs – Graffiti is also a world of very strict rules. Soon after its early days, this culture shaped itself into a very hierarchical and rigid set of commandments: from the definitions of “kings” and “toys” to what should be a “tag”, what a “throw-up” and what a “piece” and how they should interact in the streets.

Especially in recent years, some of these rigidities have been questioned from the inside by a number of young practitioners. Particularly in Europe – these sparse individuals and “crews” started diverse practices which radically began to extend and challenge the possibilities of graffiti as a language. Among the key players and pioneers in this wave of changes we surely find Pablo Tomek and his crew PAL.

Pablo Tomek is not an artist coming from graffiti, he is a graffiti writer and an artist. The two practices proceed in parallel, in osmotically interacting ways: his art affects his graffiti, questioning the form and aesthetic of his tags and pieces, while his experience of the streets fuels his studio work with concepts and approaches otherwise unthinkable. In his art practice, he borrows tools, materials and supports from street workers. Sponges – as the ones used by workers to cover up windows – take the place of brushes, glass substitutes canvases while stained protective plastic (the ones normally placed on floors when painting) and found objects take the place of sculptures.

It’s not a simple switch in materials we are witnessing in Tomek’s work. It feels that this passage holds something more conceptual and complex than a stylistic idea. We find in this artistic endeavour a strong connection to a blue-collar’s approach, to humble but mastered skills and the effectiveness learned by endless repetition. It is not a coincidence then that in graffiti the achievements of a “writer” mostly come from reiterate exercise and practice, which is what allow to combine style, effectiveness and quickness together.

Elevating practical skills to art creates a turn in perspective, which brings down the theoretical substantiation of an artist’s practice while exalting the quality of art as a practice humbly rooted into hard work. Tomek’s art is able to bring not only this refreshing approach but also the actual street, with its workers’ tools and aesthetics, inside the elitist space of a gallery. He achieves this through artworks which are immediate and thoughtful at once, able to make us rediscover the poetry of gesture and its capacity to convey feelings and emotions.

The expressiveness of gestures is what the French artist pointed out in many occasions as striking him especially in the sponged windows you can see so often in French cities. In his opinion the stroke used to apply paint to cover windows involuntarily channels a feeling – or an energy – that comes from the person executing the work. It is no surprise then that Tomek’s paintings and works on paper have been often connected to abstract expressionism, as the rough force and powerful gesture behind their execution clearly speaks an intimate language through abstract communication.

In Mixed Messages the French artist will bring for the first time his art to Sweden giving us the possibility to explore this complex practice. A new series of monotypes on paper will convoy his latest experiments, mixing his abstract works with hints of figuration which he describes as coming from the walls and his experience of the city. This show and the works in it will allow us to step inside Pablo Tomek’s artistic realm which extends from the studio space to the worksite landscapes of the ever-growing and over-gentrified French capital. An artistic landscape which is intimate, puzzling and attractive at once and that in Tomek’s hands has become the right lever to splendidly overthrow the rules of both worlds of graffiti and art.

Opening: Cosmogg II @ Fluorescent Smogg (Bristol)
Nov 30 @ 18 h 00 min – 22 h 00 min

Who’s Coming ? COSMOGG II✨💥✨💥✨ Lucas Price, Mudwig, Cain Caser, Paul Insect, Sickboy, Roids, Russel Maurice.

Original artwork and Editions produced by Fluoresent Smogg.

Happening somewhere in Bristol UK! Private View – November 30th 6pm – 10pm, Open to public 01/12/17 – 03/12/17 11am-5pm

For guaranteed entry to the private view (location announced 24hrs prior to opening) ⏰

Opening: Mission Paul Loubet @ Galerie Bomma (Paris)
Déc 2 @ 15 h 00 min – 20 h 00 min


Nous avons le plaisir de vous inviter à la prochaine exposition de la Galerie BOMMA « Mission Paul Loubet », quatrième exposition personnelle de Paul Loubet et premier solo en France.

Du 2 au 10 Décembre 2017,
Vernissage le samedi 2 Décembre à partir de 15h,
49 Rue de la Cour des Noues, Paris 20

Un superviseur peut superviser correctement trente caméras.
La Ville de Paris possède 1105 caméras fixes.
Combien de superviseurs faut-il pour surveiller Paris ?

Un drone évolue dans un rayon de 100 mètres autour de son superviseur.
La Ville de Paris mesure 105 km2.
Combien de drones faut-il pour surveiller totalement Paris ?

Un superviseur ne peut piloter qu’un drone à la fois.
50% des Parisiens ont la capacité financière et l’adresse nécessaires à l’acquisition d’un drone.
Paris compte 2,2 millions de Parisiens.
A quel point est-il nécessaire que la sécurité soit l’affaire de tous ?

Les enfants naissent avec les technologies de leurs pères dans les gènes.
Pour un enfant né après aujourd’hui, est-ce que piloter un drone serait une gêne ou un jeu d’enfant ?


À travers cette proposition, Paul Loubet révèle avec finesse le statut ambigu des objets technologiques en projetant sur ces items un univers ludique et onirique qui rappelle la naïveté de l’enfance. A la manière d’un enfant qui transforme un bâton en fusil, Paul utilise le bois de manière brute et primitive pour faire émerger des objets d’inspiration technologique. Par la simplification des formes et la fragilité des mécanismes, il ramène l’objet à son essence formelle. En exacerbant l’aspect « ludique » de ces technologies, l’artiste pousse à envisager leur puissance néfaste. Artefact ou véritable console de jeux pour adulte, les jouets injouables de Paul Loubet soulèvent des questions éloignées de l’imaginaire enfantin.

Les drones que crée l’artiste font désormais partis des thèmes récurrents de sa mythologie. Protagonistes à part entière, les drônes autonomes de Paul Loubet se pilotent sans intervention humaine.

La palette est minimaliste, les formes simples, à la limite de l’abstraction, Paul simplifie, réduit, compartimente. Les formats sont grands et les protagonistes minuscules, effet vertigo sur toile, il fait cohabiter grand espaces et modèles réduits. La touche est naïve, brute, celle d’un peintre, qui malgré sa volonté de géométriser et de compartimenter, sort du cadre et n’est pas d’une perfection sans faille.